Evil Dead 2: Dead Before Dawn

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Title: Evil Dead 2: Dead Before Dawn

Director: Sam Raimi
Released: 1987
Staring: Bruce Campbell, Sarah Berry, Danny Hicks, Kassie Wesley, Ted Raimi, Denise Bixler, Richard Domeier, John Peaks, Lou Hancock

Plot: Ash Williams (Campbell) and his girlfriend Linda (Bixler) take a romantic vacation to an isolated cabin in the woods. It is there that Ash finds and plays a tape of an archaeology professor (Peaks), reciting passages from the Necronomicon Ex-Mortis or the Book of the Dead, which he has discovered during an archaeological dig. The recorded incantation proceeds to unleash an evil force from the woods pitting them in a battle to make to dawn.

 

Review: Considering the sheer amount of carnage unleashed on the screen in the first film, it is hard to think how Raimi could even set about trying to top it, especially when it got one of the dubious honour of being banned as part of the video nasty scandal. Raimi himself was also not keen to give his debut film a sequel, especially as he saw his next film “Crimewave” as a hit and it was only after it flopped due to a combination of poor distribution and critical mauling that he decided to take up the publicist Irvin Shaprio’s offer to make a sequel. However struggling to find the required funds to make the film, help would come via Stephen King who’d written a glowing review of the first film which had also been used heavily during promotion for the film and who was at the time working with legendry Italian producer Dino De Laurentiis on “Maximum Overdrive”. After reciving a call from King, De Laurentiis agreed to fund the film especially being further persuaded by the high grosses of the original film in his native Italy.

The original plot had been to have Ash thrown back in time via a time portal to the medieval ages, an idea which was soon scrapped after Raimi only managed to secure 3.6 of the desired 4 Million he needed to make the picture, leading to him to essentially remaking the first film while as we now know the original plotline would go on to become that of the third film “Army of Darkness”. This decision to remake his first film is essentially a smart move, especially considering the original film was at this point branded a video nasty and as such still banned, while also meaning that Raimi could correct the parts of the film which didn’t work aswell as they perhaps should have. At the same time this claim of the film being a remake has been disputed as being more down to the fact that rights to show scenes from the original could not be obtained to allow the film to recap and hence leading Raimi to recreate these scenes instead. It would be these kinds of rights issues which also mean that George Romero gets nothing from his debut “Night of the Living Dead” which at last check had become a public domain movie as a result of these issues with the rights to the film.

The real heart of the film (if not the series on the whole) though is Bruce Campbell, who once agin returns as the long suffering Ash to battle his way through another night of terror, while he also becomes over the course of the wisecracking deadite slayer we have come to see him as essentially always being and this reworking of his character would truly be one of the good things to come from the sequel, as he straps a chainsaw to his stump and saws the end off his shotgun to complete his trademark look. Campbell of course embodies this role, while essentially being tortured by Raimi (who needs enemies when you’ve got friends huh!) who ensures that that Ash is on the receiving end of more brutal knocks than any other character in the film. With perhaps only Raimi’s brother Ted, who appears as the professor’s possessed wife, challenging Campbell for filming hardship as his suit constantly filled with his sweat which constantly had to be drained from the suit, further reinforcing the idea as to who needs enemies when your friends with Sam Raimi.

While this might be essentially a remake, the tone is very different to the first film whose focus was on unrelenting terror as here the focus here being on giving the film more of a humorous edge rather than making it a straight horror film as the first had been, with the majority of these comedy touches coming from Scott Spiegel who Raimi brought in to help write the script, with the duo drawing influence from various slapstick films including Raimi favourite “The Three Stooges” and the influence can be seen clearly on the screen, as characters suffer pratfalls while we are also treated to Ash’s disembodied hand flipping him the bird, all things which could easily have taken away from the film, but instead provide the much needed respite from the horror which Raimi unleashes on the screen here, especially as he somehow manages to outdo the first film, especially as he takes it to new dizzying heights of gore and splatter, especially when geysers of blood pour from the walls and floor.

Which the focus may be more on giving this film a more comedic edge than the first film, this is not to say that Raimi still doesn’t wheel out a new box of demonic delights, as he creations are now bigger and more grotesque than before thanks to the increased budget and while he largely aims to bring new shocks to the screen, he seemingly can’t resist bringing back his more notorious creation “The Angry Molesting Tree” even though it is on less controversial terms than before, while even giving this particular and originally faceless horror an actual face during the final epic showdown, which sadly doesn’t feature the same delirious mix of pie filler and stop motion animation meltdown that the original did. Still on the plus side Raimi is not such a tease with the chainsaw antics, one of my bugbears of the original were we are setup for some chainsaw action only to never actually see it, something well and truly made up for here.  

One of the more interesting aspects of the film is really in how it plays out with the first half featuring Ash essentially being battered and tormented by the evil forces at work, which it would seem is the setup for the rest of the film, only for Raimi to around the halfway point throws in a fresh group of characters as the professors daughter Annie (Berry), her research partner Ed (Domeier) and locals Jake (Hicks) and Bobby Joe (Wesley) into the madness and while we have been introduced to them via the spattering of moments the film takes its attention away from Ash, they still feel like fresh and new characters and essentially more meat for he grinder the cabin quickly is becoming at this point. It is also interesting how well this sudden introduction of new characters works, especially considering the minimal amount of character development they have received at this point.

While Raimi might have been reluctant to make it, this film is the true calling card of his talent as he proved that you can amuse and terrify an audience at the same time, as like George Miller with “Mad Max 2: The Road Warrior” he successfully builds on what he established with the original while in many cases improving on his formula, in the process achieving that rarest of things a sequel that is actually better than the original. When it comes to turning splatter into an art form here Raimi excels in bloody spades!

RaimiFest: The Evil Dead

Continuing the fun of “Raimifest” currently being held over at “Things That Don’t Suck”, the fantastic blog run by my critiquing hombre Bryce, so why not check out it out the fun currently happening over there and soak up some of the Raimi goodness!



Title: The Evil Dead
Director: Sam Raimi
Released: 1981
Staring: Bruce Campbell, Ellen Sandweiss, Richard DeManincor, Betsy Baker, Theresa Tilly

Plot: Five friends head to a cabin in the woods, were they find a copy of an ancient book detailing demonic possession and ceremonies. As well as the book they also find a tape recording translation of the book, which unknown to them releases a dark evil in the woods.



Review: Okay let me start by saying that I was never a fan of this film, having only really watched it once before and since then hadn’t really felt any kind of urge to revisit it since that original viewing, but seeing how we are in the midst of “Raimifest” I could think of no better excuse to revisit this film, after all my childhood memory is still imprinted with the original VHS artwork, which taunted me from the shelves of the local video rental and even though I never felt any urge to watch it, it still held a strange power over me, which could have been down to the lack of any kind of screenshot on the back or just the eerie green colouring of the zombie like creature on the front cover, whatever it was there was something about it which stuck with me.

Originally titled “The Book of the Dead” only for producer Irvan Shapiro to oppose the title, believing that audiences would expect to have to read, Raimi instead changed the name to “The Evil Dead” or “The Evil Dead, The Ultimate Experience In Gruelling Horror” to give the film it’s full title and it is certainly a film with a chequered past being one of the first films to make the notorious “Video Nasties” list and being frequently used by media moralist Mary Whitehouse, as an example of a video nasty in court, though ironically the version she used was not the uncut version but instead the cut version of the film, which had been passed for certification by the BBFC, were it had recived an X rating. The film would be frequently added and removed from the list before finally receiving its full uncut release in 2001 ironically on the same year that Whitehouse passed away.

Biding it’s time the film starts off quite typically with our fresh faced teens heading to their rented cabin in the woods and despite a few warning signs that something is nice quite right, be it the strange unseen presence moving quickly though the woods or the porch bench banging against the side of the cabin suddenly stopping, the group certainly have no idea of the night they have ahead of them, much like the viewer, for so far this is all a pretty traditional horror setup. Still Raimi clearly knows this seeing how he goes from this handful of setup moments, to his first big scare of the film aswell as the most controversial as Ash’s sister Cheryl is raped by the surrounding trees, which would also be the one scene which Raimi would later admit to regretting it’s inclusion in the final cut of the film and while it provides a shocking wake up call for the audience, it still is one of the few moments were the film perhaps takes things a little too far. Still from this moment onwards the film becomes a non stop ride into madness and sheer terror, which never lets up until the closing credits, which are equally haunting as the jolly and slightly out of place jazz music slowly grinds to a crawl before fading out completly, providing the viewer with no reprive while it still has command of the screen.

When it comes to the gore Raimi makes good on the advice he received from his friend Andy Grainger who had told him…

“Fellas, no matter what you do, keep the blood running down the screen”

Well it’s safe to say that Raimi manages to follow this advice almost religiously as not only is this possibly the most bloody film ever made, with possibly only Peter Jackson’s “Brain Dead” (1992) coming close to beating it, but nearly any possible bodily fluid is thrown at the screen, along with the various amputations, stabbings and beatings which happen throughout, as he builds to his epic finale in which bodies explode in epic meltdowns of stop motion animation, old school effects and something which strangely resembles pie filler, with Campbell being on the receiving end of the majority of the punishment being handed out, which could be down largely to the fact that Campbell was the only actor to stay with the production throughout, with the rest of the cast having scenes completed using stand in’s or “Fake Shemps” as they were branded, though Raimi seems to be personally setting out to torture him throughout the film, something which he would continue through to the sequels in which he seemed to constantly be finding new tortures for his long term friend and actor of choice. The use of “Fake Shemps” could also be seen as Raimi’s ongoing obsession with “The Three Stooges”, one of several reoccurring themes and icons which have appeared in nearly all his films, with these icons including Chainsaws and the now famous Oldsmobile, all of which made their debut here. With this feature length debut Raimi clearly is building on the foundations he lay with “Within The Woods” (1978), which he also used to raise the funds for this film, which in turn could now be seen as the testing ground for “Evil Dead 2” (1987) which is essentially a big budget remake, taking what worked here and fine tuning it for a bigger kick, which would explain the evolution of Ash to his more recognisable Wise cracking deadite slaying persona, aswell as the Chainsaw actually being used, rather than just playing the tease as he does here. Still there would still remain one aspect of this film, which Raimi would never be able replicate in the sequels and this is the sheer creepiness of Betsy Baker, thanks to a combination of milky white contacts and a Cheshire cat grin, which still haunts me like the turtle scene in “Cannibal Holocaust” (1980). Baker apparently still likes to dig out the contacts on Halloween and scare the hell out of the local kids, which I have to admit is pretty cool, though here when that smile and those wide eyes are combined with her insane ramblings it’s chilling.

While “The Evil Dead” might not be my favourite film in Raimi’s back catalogue, there is no denying it’s influence, especially seeing how it would go on to spawn not only it’s two sequels, but computer games, a musical as well as a popular comic spin off, while finding a whole new host of rabid fans, with every new generation of horror fans who discover it for the first time and while I would have preferred to have just ended the film with Ash walking away, rather than going for the final scare, but despite my qualms with the film it still remains almost a textbook example of how effective DIY horror can be when done well. Now if I could only just figure out why Raimi choose to have them drinking Moonshine of all things.

RaimiFest: The Quick And The Dead

Currently my blogging rival (and I say that only in the most affectionate of terms, especially seeing how he just writes so much prettier than me) Bryce over at “Things That Don’t Suck” is currently holding “Raimifest”, a celebration of all things Sam Raimi and encouraging the blogging community to submit their opinions on the life and work of the man in question, so make sure you go check it out for some varied and great musings on all things Raimi! Title: The Quick and The Dead Director: Sam Raimi Released: 1995 Staring: Sharon Stone, Gene Hackman, Russell Crowe, Leonardo DiCaprio, Tobin Bell, Keith David, Lance Henrickson, Gary Sinise, Jonothon Gill Plot: Ellen (Stone) a mysterious female gunslinger rides into the small prairie town of Redemption, which ruled by the ruthless John Herod (Hackman), who has arranged a quick draw competition as part of his ongoing campaign to eliminate any potential threats to his rule, while at the same time forcing his former Henchman turned preacher Cort (Crowe) to enter.
Review: Today is actually a pretty special day, seeing how it’s my son Williams first birthday, which brought up a lot of memories of my own childhood, including that stereotypical view that all boys will be fans of Westerns and Football, the later of which will for myself never happen, while as for Westerns these have always been a largely ignored genre for myself, with it taking something real special or unique for me to watch most westerns, which I guess is the reason I like this one so much, for not only is it a western I totally dig, but also an oddity on Sam Raimi’s Directorial C.V, who had shown no real interest in the genre, even more so when he was at this point in his career associated more with the Horror Genre especially after the success of “The Evil Dead Trilogy”. Coming across like a homage to the films of Sergio Leone, the film pretty much hits the ground running and never lets up the pace, especially when we are mere minutes into the film, before Ellen or “The Lady” as she’s frequently referred to has beaten up Tobin Bell’s greasy prospector Dog Kelly and left him chained to the wheel of his wagon, with little provoking needed for this “Mad Max” style of revenge, other than the fact he’d attempted to shoot her, which on second thoughts actually seems pretty reasonable when you think about it. Still this seemingly random act of violence is the perfect introduction to Ellen, who speaks softly while letting her actions do all the talking, in particular with her quick draw skills. Still she is a woman whose past and reasons for riding into town are murky at best, much like all of the best of Leone’s antihero’s. Plotwise it is essentially a two thread story switching between Ellen’s reasons for coming to Redemption and entering the competition, aswell as her murky past seen here largely in flashbacks, with Raimi having enough faith in his audience to resist not just hamering home the big revel and instead allow the audience to piece it all together, especially when Ellen only mutters a handful of words at best, though it does bare a worrying similarity to the ending of “Once Upon A Time In The West”. The other main plot thread concerning Herod and his attempts to goad Cort back into his former violent ways by not only burning down his orphanage, but also dragging him into town in chains. Still it’s not quite clear what Herod’s true intentions really are, especially when he leaves Cort chained to a rock, while also forcing him to shoot with the cheapest junk pistol he can find aswell as giving him only a single bullet, but then Herod is hardly about fair play, especially when he frequently changes the rules to suit his own personal means. The town of Redemption is a dusty and tumbleweed strewn town, were it’s townsfolk will happily steal anything that’s not nailed down, as frequently proven by the hordes which decent on the dead, frequently while their bodies are still warm stripping them of anything of value in second and in one case even taking their Gold Teeth, with the crippling taxes imposed by Herod reducing many of the townsfolk to vicious savages. Still thanks to the contest it’s also one, which Raimi has been able to also fill with a variety of colourful gunslingers and bandits all willing to take their chances to collect the prize money. This mix of characters is certainly one of the high point of the film, especially as they are so varied from the flamboyant trickshot and Teller of tall tales Ace Hanlon (Henrikson) to the fast talking gunslinger known as “The Kid” (DiCaprio), though for all the colourful characters who Raimi brings to life with his usual flair and style, there are a couple of duff characters such as “Spotted Horse” (Gill) whose sole contribution to proceedings seems to not stretch past constantly shouting “Spotted Horse cannot be killed by a bullet”, whenever he appears on screen and really only adds another body to add to the pile once they start mounting up, rather than anything particularly important plot wise. This is much the same for the townsfolk who are pretty much the usual group of stereotypical characters, with only a handful fleshed out to be more than background characters. Still even the most colourful characters in the cast are quickly pushed to the side when Herod is on the screen, as Hackman once again seems to be having a blast not only chewing up the scenery, but also playing a decent and truly ruthless villain, as he portraying Herod much like his namesake, surveying the competition from a throne and often while drinking fine wine from a goblet, let alone his habit of constantly changing the rules to serve his own means and it’s of little surprise that Hackman once again provides the majority of memorable moments here. The action sequences are all pretty thrilling, with Raimi pretty much levelling the town in a hail of gunfire and exploding building for his finale, which did have me questioning how Ellen even manages to setup such a spectacular finale showdown, I mean did none of Herod’s lackeys happen to notice all these barrels of gunpowder being placed in key locations around the city? Meanwhile the violence is pretty restrained for Raimi, especially after the memorable gooey fun of “The Evil Dead”, with the majority of the violence here being limited to bloody gunshot wounds which only makes the money shots like the hole in the head all the more satisfying when they happen. Sharon Stone seriously makes the most of her Producer credit here, not only personally choosing Raimi to direct, but also bringing on board both DiCaprio and Crowe, who at the time were still essentially unknown talent and while DiCaprio is still a peach fuzzed youth, he is cocky but not to the point of irritating, while watching this film now, it only makes me wonder why it took Crowe so long to be recognised as a mainstream actor, as he’s in great form as the former bandit who has long since turned his back on his violent past. Raimi has not only created a great western here, but one which although lacking in subtly and high on gloss is still a fun and exciting ride and how really cares about historical accuracy and plausibility, especially it’s this much fun!